Gerard Manley Hopkins, selected poems Contents
- As Kingfishers Catch Fire
- Binsey Poplars
- The Blessed Virgin Mary Compared to the Air We Breathe
- Carrion Comfort
- Duns Scotus' Oxford
- God's Grandeur
- Harry Ploughman
- Henry Purcell
- Hurrahing in Harvest
- Inversnaid
- I Wake and Feel the Fell of Dark
- Synopsis of I Wake and Feel the Fell of Dark
- Commentary on I Wake and Feel the Fell of Dark
- Language and tone in I Wake and Feel the Fell of Dark
- Structure and versification in I Wake and Feel the Fell of Dark
- Imagery and symbolism in I Wake and Feel the Fell of Dark
- Themes in I Wake and Feel the Fell of Dark
- The Leaden Echo and the Golden Echo
- Synopsis of The Leaden Echo and the Golden Echo
- Commentary on The Leaden Echo and the Golden Echo
- Language and tone in The Leaden Echo and the Golden Echo
- Structure and versification in The Leaden Echo and the Golden Echo
- Imagery and symbolism in The Leaden Echo and the Golden Echo
- Themes in The Leaden Echo and the Golden Echo
- The May Magnificat
- My Own Heart, Let Me Have More Pity On
- Synopsis of My Own Heart, Let Me Have More Pity On
- Commentary on My Own Heart, Let Me Have More Pity On
- Language and tone in My Own Heart, Let Me Have More Pity On
- Structure and versification in My Own Heart, Let Me Have More Pity On
- Imagery and symbolism in My Own Heart, Let Me Have More Pity On
- Themes in My Own Heart, Let Me Have More Pity On
- No Worst, There is None
- Patience, Hard Thing!
- Pied Beauty
- The Sea and the Skylark
- Spelt from Sibyl's Leaves
- Spring
- Spring and Fall
- St. Alphonsus Rodriguez
- The Starlight Night
- That Nature is a Heraclitean Fire and of the Comfort of the Resurrection
- Synopsis of That Nature is a Heraclitean Fire
- Commentary on That Nature is a Heraclitean Fire
- Language and tone in That Nature is a Heraclitean Fire
- Structure and versification in That Nature is a Heraclitean Fire
- Imagery and symbolism in That Nature is a Heraclitean Fire
- Themes in That Nature is a Heraclitean Fire
- Thou Art Indeed Just, Lord
- Tom's Garland
- To Seem the Stranger
- To What Serves Mortal Beauty
- The Windhover
- The Wreck of the Deutschland
- Beauty and its purpose
- The beauty, variety and uniqueness of nature
- Christ's beauty
- Conservation and renewal of nature
- God's sovereignty
- The grace of ordinary life
- Mary as a channel of grace
- Nature as God's book
- Night, the dark night of the soul
- Serving God
- Suffering and faith
- The temptation to despair
- The ugliness of modern life
- Understanding evil in a world God has made
Structure and versification in Spelt from Sibyl's Leaves
An extended sonnet
The structure of the sonnet is its obvious feature. Hopkins was aware of this, saying it must be the world's longest sonnet, and it took him just as long to write. At some 190 words, with eight feet per line, Hopkins must have been right (until he wrote That Nature is a Heraclitean Fire a year or two later, which is even longer!). Some people have protested it is not a sonnet at all.
Metre
Hopkins was very particular about indicating the poem's metre. He marked no less than 43 out of a possible 112 accents over the stressed syllables, and he marked in every single caesura. Each line divides into two sets of four stressed syllables, before and after the caesura. The first line has a rest or pause, where an accented syllable is meant to come. The predominating metre is a falling one, as in l.2:
where the dactyls are only interrupted by the two final spondees closing each half-line, and the dramatic emphasis on ‘time's'.
Some of Hopkins' marking of accents may seem eccentric. He puts accents on ‘in'(ll.6,14);'our'(l.8); ‘her'(l.11); ‘two'(l.12), which make for a very odd reading. We either disregard them, and read according to normal speech stress instead, for example: ‘sélf in sélf stéepèd and ...' or try to read it as Hopkins indicated and just give up any notion of this being normal speech, but more intoned. In incantation, all sorts of odd syllables carry the note. Stressing such words shades the meaning of the whole poem.
Enjambement
The last point to notice is the enjambement, which, as usual with Hopkins' notion of sprung rhythm, is a major structuring device. The bold one at the end of the first line tips us into ‘evening' gasping for breath, but adds to the sense of ‘strain'- a huge line to convey a huge concept. The dramatic carry over of l.3 into the ‘Waste' of the next line underlines the desolation of the whole poem. The enjambement at the end of l.10 brings out more the sense of continuity of ‘wind'- things are quickly winding down.
- Take two other lines and scan them.
- Can you discern any sort of metric pattern?
- Try reading ll.8,11,12 and 14 as Hopkins indicates, and then as you would naturally want to.
- What is the difference?
- Which do you prefer?
- What is the difference?
- Comment on the enjambement at the end of l.5.
- How does it help the counterpointing of the poem?
- Generally, would you agree this is a powerful poem?
- Wherein does its power reside?
- Would you see the poem as a sonnet?
- Argue for and against.
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